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A late November feast of folk, rock, and country sounds, much of it gospel-tinged, all of it burnished in afternoon light. Expect occasional flurries, scattered leaves, and warm ovens. Foil-wrapped casserole dishes and those gold-brown canisters that Folger’s Crystals used to come in. Drunken uncles and grandma’s gravy. Cranberry as a condiment, cold turkey for breakfast. Pedal-steel twang. Thick scarves. Planes, Trains, and Automobiles. Tunes for keeping the engine warm, prayerful pleas for saying grace, and plenty of laidback Seventies stuffing to go round. words / dk o’hara

To the rail I pray / ’Cause in November I heard your name / Quit my job and stole a gun – C.Bathgate

Thanksgiving: Late Autumn Light (A Mixtape)

Jerry Jeff Walker, Will There Be Any? (1974)
Bob Dylan, Mary Ann (1973)
Fairport Convention, Tale in a Hard Time (1969)
Neil Young, Pardon My Heart (1975)
Heron, I Wouldn’t Mind (1971)
Graham Nash & David Crosby, Southbound Train (1972)
Jimmie Spheeris, Come Back (1971)
Chris Bathgate, In the City (2011)
Possessed by Paul James, Texas Rose (2010)
The Chambers Brothers, People Get Ready (1967)
Jaki Whitren, A Little Bit Extra Please (1973)
Sandy Denny, Crazy Lady Blues (1971)
Lambchop, Each Time I Bring it Up, It Seems to Bring You Down (2004)
Brinsley Schwarz, Country Girl (1970)
Pete Molinari, Sweet Louise (2008)
Bonnie Prince Billy and The Cairo Gang, Island Brothers (2011)
Peggy Seeger, Mary Ann (1962)
AA Bondy, On the Moon (2009)
Jesse Winchester, Brand New Tennessee Waltz (Live, 2005)
The Heavenly Gospel Singers, I’m A Pilgrim (1936)

Related: Happy Thanksgiving :: Doug Sahm And Friends – Austin, TX 1972

sergeOur weekly two hour show on SIRIUS/XMU, channel 35, can be heard twice, every Friday – Noon EST with an encore broadcast at Midnight EST.

SIRIUS 365: Jean Michel Bernard – Générique Stephane ++ The Who – Fortune Teller ++ Billy Nicholls – Girl From New York ++ The Kinks – Supersonic Rocket Ship ++ Scott Walker – 30 Century Man ++ Tommy James – Midnight Train ++ Ty Segall – Bees ++ Bernard Chabert – Il Part En Californie (He Moved To California) ++ The Blue Things – High Life ++ Donovan – Wild Witch Lady ++ Charlie Feathers – That Certain Female ++ The Beach Boys – Over The Waves ++ Françoise Hardy – Till the Morning Comes ++ Richard And Linda Thompson – Calvary Cross ++ The Who – Shakin’ All Over ++ Big Mama Thornton – I’m Feeling Alright ++ Black Merda – Cynthy-Ruth ++ Michael Kiwanuka – I Need Your Company ++ Benjamin Booker – Falling Down Blues (Aquarium Drunkard Session) ++ The Aynsley Dunbar Retaliation – Watch ’n Chain ++ The Cramps – New Kind Of Kick ++ Chuck Berry – Louisiana  ++ The Black Lips – Hippie, Hippie, Hoorah ++ The Rolling Stones – Downtown Susie ++ Barrett Strong – Misery ++ Johnson, Hawkins, Tatum, & Durr – You Can’t Blame Me ++ Shintaro Sakamoto – In A Phantom Mood ++ The Hygrades – Rough Rider ++ The Meters – Handclapping Song ++ Ultimate Painting – Talking Central Park Blues ++ The Troggs – Our Love Will Still Be There  ++ Jessica Pratt – Back, Baby ++ Shin Joong Hyun – I’ve Got Nothing To Say ++ The Samurai – Fresh Hot Breeze Of Summer ++ Jack Name – New Guitars  ++ White Fence – Pink Gorilla ++ David Vandervelde – Nothin’ No ++ Yo La Tengo – Autumn Sweater ++ Richard Swift – Lady Luck ++ The Art Museums – Sculpture Gardens ++ The Shaky Hands – Why And How Come ++ Modern Lovers – You’re The One For Me ++ Modern Vices – Baby

*You can listen, for free, online with the SIRIUS three day trial — just submit an email address and they will send you a password.
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Following Black Hours, his solo debut in June, Hamilton Leithauser returns with the chooglin’ Room For Forgiveness. Get a taste, below, and if you’re in NYC, Leithauser gigs at Bowery Ballroom, December 11th.

Hamilton Leithauser :: Room For Forgiveness

Related: The Lagniappe Sessions :: Hamilton Leithauser on Frank Sinatra – The Covers

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Dwight Twilley doesn’t care much about terms like “power pop.”

It’s not that he objects, he just doesn’t care about the tag. “The Beatles were pretty much the greatest power pop band of all time, so if you want to put me in the same category as them, I’m fine with it,” he laughs, speaking over the phone with Aquarium Drunkard

Indifference aside, Twilley’s records, with the late Phil Seymour as the Dwight Twilley Band and solo, remain key entries in the power pop canon, undeniably hooky and tight LPs blending Fab Four jangle with Sun Records-style rockabilly. The records attracted the ears of fans like Tom Petty, who’d go on to contribute to Twilley recordings, and earned the Oklahoma singer a few major hit. As the 70s drew to a close, Twilley shuffled between labels, eventually slinking away from the public eye.

In recent years, however, Twilley has been on a tear. Self-releasing his records these days, he’s back with Always, a 12-track collection of sharp rock and pop. Following the passing of his longtime musical partner Bill Pitcock IV, Twilley enlisted a broad cast of guests for the record, “pals and friends” like Steve Allen and Ron Flynt of 20/20, Susan Cowsill, Mitch Easter, Tommy Keene, Roger Linn, Leland Sklar, and Ken Stringfellow.

Twilley spoke with AD about his history and making records in 2014.

Aquarium Drunkard: I know you guys recorded in England, but listening to early Dwight Twilley Band records I’m struck by the very distinct American edge, in terms of the rockabilly influences and the “Sun sound.”

Dwight Twilley: My partner Phil Seymour and I, when we were kids…we were kind of Simon and Garfunkel guys. We had these pretty little songs and pretty little harmonies. We lived in Tulsa, Oklahoma, the middle of the country. We had a little collection of tapes and we thought we should have somebody from a record company listen to these. Maybe somebody would like ‘em, you know? We couldn’t afford to go all the way to Los Angeles, that was out of the question, and we couldn’t afford to go to New York, but we had heard that they had recording studios and record companies in Memphis. That wasn’t too far away. So we got in my little ’58 station wagon and brought our cassette tape of songs and ended up in Memphis, Tennessee, just literally driving down the street looking for what might be a record company. Phil said, “That’s gotta be a record company,” and we just walked in the door and played our little cassette for some guy named “Phillips,” and it turned out he liked our music. It meant nothing to us at all that it happened to be Sun Records.

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I have already sung the praises of Matt “MV” Valentine elsewhere. For the Google-averse, I can sum it up by saying that MV’s music–both with and without his partner, co-conspirator and constant foil Erika “EE” Elder–has been as crucial a catalyst for my development as a listener as I imagine the Stooges, Big Star, or the Velvets might have been to crate-diggers of a previous generation. Though the influence of MV & EE can clearly be heard throughout various strains of nth wave psychedelia and folk, the duo is rarely name-checked alongside contemporaneous true-originators like Ben Chasny, Jack Rose, or the brothers Bishop, nor evoked in discussions of similarly singular lifer-artists like American Tapes’ John Olson.

MV & EE’s music seamlessly assimilates raga, blues, folk, punk, free improv, drone, and avant garde disciplines while maintaining close, perhaps compulsory, ties to so-called “classic rock” (Canned Heat, the Dead, Dylan, Neil, etc). Their work seems to abide the Muse while ignoring–even as it predicts—subcultural trending (MV was making “guitar soli” albums over a decade ago). In many ways, MV is to free folk–a term he invented, by the way–what Thelonious Monk is to jazz: individualist among individualists, stranger to orthodoxy, and spiritual link to the music’s very essence.

It seems obvious to me that the only logical explanation for the continued obscurity of MV & EE music is that the group are the victims of a deep and diabolical conspiracy. Perhaps MV is, as Steve Aylett wrote of rogue (fictional) science fiction author Jeff Lint, “so far ahead of his time that his existence has had to be disregarded so as not to screw up the continuity.”

I spoke to MV about the great new MV & EE album Alpha Lyrae (the first vinyl release on the duo’s long-running C.O.M. label), his defiantly Utopian approach to gear, and unpopular Neil Young albums.

MV & EE :: Starchild

Wooden Wand: C.O.M. was one of the very first CDR labels, and is also one of the longest-operating, having been established in 1999 following the dissolution of your previous label, Superlux. Alpha Lyrae is the label’s first vinyl release. Why the decision to release vinyl now?

Matt Valentine: It just seemed to align with everything. For once we felt in sync with the times, not ahead or coma slow. We were so deeply involved with all aspects of the album’s creation we figured, why not go all the way? Every note matters, so why not touch as much of it as possible? It feels good. Hopefully that translates. Every sound means something.

Wooden Wand: Alpha Lyrae is my favorite MV and EE ‘high art’ release since Space Homestead. This one reminds me, in spirit, of the Bummer Road / Golden Road era, an era that saw your records become more community-based, despite being recorded with various personnel over vast expanses of terrain. Is this an accurate description?

MV: That’s cool you hear that. In a way, a lotta the “road” crew are on this one, even the Spanish Wolfman! (Spanish Wolfman was a founding member, alongside MV, of both Tower Recordings and Memphis Luxure. –Ed.) Erika and I wanted to have as many of our favorite players as we possibly could on this single LP, even though she and I mostly play everything. P.G. Six was on a bunch of tracks that we working on, but they just didn’t get finished in time.

In 1972, Mark Volman (“Flo” aka Phlorescent Leech) Howard Kaylan (“Eddie”), original members of The Turtles, took some time off from their gig with Frank Zappa’s band to record an album for Reprise called (of course), The Phlorescent Leech and Eddie. If you’re not curious already, what if I said this tune approximates something like a sweetly psychedelic Laurel Canyon acid trip, experienced from the back seat of the bus while Cowboy Neal cranks the wheel, doing doughnuts in the meadow? It’s trippy, tightly executed, and always on the edge of falling apart – controlled chaos delivered with a wry smile. Wildly under-appreciated stuff. words / r wilson

Flo & Eddie :: I Been Born Again

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Michel Polnareff :: La Poupée Qui Fait Non